The Intersemiosis of Negative Emotions in the Cinematic Discourse: a Psycholinguistic Perspective
This study of the psycholinguistic properties of negative emotions in the English cinematic feature discourse focuses on the establishment of their intersemiosis – the simultaneous multimodal construction of emotional meanings by means of heterogeneous sign systems. The means of meaning construction in the cinematic discourse include linguistic, non-linguistic (prosody, kinesics, etc.) and extra-linguistic (music and kineikonic means), and different modes – acoustic and visual channels for transmitting meanings. The main psycholinguistic properties of cinematic emotions are their inextricable connection with the physiological processes, rootedness in the common human embodied experience, motivational basis; emotions are read as the result of an assessment of the satisfaction degree of individuals’ needs. The construction of emotional meanings in the cinematic discourse is the result of the interaction between the real world of the film makers and the imaginary world of the action. In constructing negative emotional meanings in general and emotions of fear and anger, in particular, the collective author of the cinematic discourse uses different semiotic codes in a parity or non-parity way. In the first case, heterogeneous semiotic codes both serve to denote fear or anger, while in the second, advantage is given to one of heterogeneous codes – linguistic, non- linguistic, and extra-linguistic. Consequently, this leads to the domination of one of the modes of transmitting meanings to the collective viewer – acoustic or visual. According to the coherence parameter of the emotional meaning embodied by various means of the semiosis of fear or anger, individual episodes of the English cinematic feature discourse are either congruent or non-congruent. Being congruent, different codes simultaneously transmit the same emotional meaning; being incongruent, heterogeneous semiotic codes actualize different emotional meanings, which leads to higher expressiveness of such emotions and their more effective influence on the viewer.
Breslav, G.M. (2004). Psihologiya emotsiy [Psychology of emotions]. Moscow: Smysl, Akademiya [in Russian].
Vilyunas, V.K. (1976). Psihologiya emotsionalnyih yavleniy [Psychology of emotional phenomena]. Moscow: Izd-vo MGU [in Russian].
Dzhems, U. (1991).Psihologiya [Psychology]. Moscow: Pedagogika [in Russian].
Elmslev, L. (2006). Prolegomenyi k teorii yazyika [Prolegomena to the theory of language]. Moscow: KomKniga [in Russian].
Zasiekina, L.V. (2008). Tendentsii rozvytku vitchyznianoi psykholinhvistyky: metodolohichnyi ohliad problem ta okreslennia shliakhiv yikh vyrishennia [Trends in the development of domestic psycholinguistics: a methodological review of problems and ways to solve them]. Psykholinhvistyka – Psycholinguistics, 1, 9–20 [in Ukrainian]
Izard, C.E. (1980). Emotsii cheloveka [Human emotions]. Moscow: Izd-vo Moskovskogo un-ta [in Russian].
Ilin, E.P. (2001). Emotsii i chuvstva [Emotions and feelings]. Saint Petersburg: Piter [in Russian].
Lange, G. (2004). Dushevnyie dvizheniya [Mental movements]. Psihologiya emotsiy – Psychology of emotions (pp. 112–130). Moscow, Saint Petersburg: Piter [in Russian].
Leontev, A.N. (1971). Potrebnosti, motivyi i emotsii [Needs, motives and emotions]. Moscow: MGU [in Russian].
Myagkova, O.Yu. (2000). Emotsionalno-chuvstvennyiy komponent znacheniya slova [Emotional-sensual component of the meaning of the word]. Extended abstract of candidate’s thesis. Moscow [in Russian].
Nurkova, V.V., & Berezanskaya, N.B. (2004). Psihologiya [Psychology]. Moscow: Yurayt-Izdat [in Russian].
Korsini, R., & Auerbakha, A. (Ed.). (2006). Psihologicheskaya entsiklopediya [Psychological Encyclopedia] (2th ed.). Saint Petersburg: Piter [in Russian].
Rubinshteyn, S.L. (1946). Osnovyi obschey psihologii [Basics of General Psychology]. Moscow: Uchpedgiz [in Russian].
Festinger, L. (2018). Teoriya kognitivnogo dissonansa [Theory of cognitive dissonance]. Moscow: Eksmo. [in Russian].
Kholod, O.M. (2011). Komunikatsiini tekhnolohii [Communicative technologies]. Kyiv: KyMU [in Ukrainian].
Ekman, P. (2010). Psihologiya emotsiy. Ya znayu, chto tyi chuvstvuesh [Psychology of emotions. I know what you feel]. Saint Petersburg: Piter [in Russian].
Argaman, O. (2010). Linguistic markers and emotional intensity. Journal of Psycholinguistic Research, 39(2), 89–99. https://doi.org/10.1007/s10936-009-9127-1
Arnold, M.B. (1970). Feelings and emotions. New York: Columbia University Press.
Bamberg, M. (1997). Language, Concepts and Emotions: the Role of Language in the Construction of Emotions. Language Sciences, 19(4), 309–340. https://doi.org/10.1016/S0388-0001(97)00004-1
Bateman, J.A., & Schmidt K.H. (2012). Multimodal Film Analysis. How Films Mean. London, New York: Routledge.
Campos, J., & Barrett, K. (1984). Towards a new understanding of emotions and their development. In C. Izard, Kagan & R. Zajonc (Eds.), Emotions, Cognition and Behavior (pp. 229–263). New York: Cambridge University Press.
Carroll, N. (1999). Film, Emotion, and Genre. In C. Platinga & G.M. Smith (Eds.), Passionate View: Film, Cognition and Emotion (pp. 21–47). Baltimore, London: The Johns Hopkins University Press.
Dewey, J. (1895). The Theory of Emotion. The Significance of Emotionsю Psychological Review 2, 13–32. https://doi.org/10.1037/h0070927
Fracture. (n.d.). Retrieved from http://www.imsdb.com/scripts/Fracture.html
Frijda, N.H. (1986). The Emotions (Studies in Emotion and Social Interaction). Cambridge: Cambridge University Press.
Fusaroli, R., Demuru, P., & Borghi, A.M. (2012) The Intersubjectivity of Embodiment. Journal of Cognitive Semiotics, 4(1), 1–5.
Gaut, B. (1999). Identification and Emotion in Narrative Film. In C. Platinga & G.M. Smith (Eds.), Passionate View: Film, Cognition and Emotion (pp. 200–216). Baltimore, London : The Johns Hopkins University Press.
Grodal, T. (1999). Emotions, Cognitions, and Narrative Patterns in Film. In C. Platinga & G.M. Smith (Eds.), Passionate View: Film, Cognition and Emotion (pp. 127–145). Baltimore, London: The Johns Hopkins University Press.
Izard, C.E. (1991). The Psychology of Emotions. New York: Plenum. https://doi.org/10.1007/978-1-4899-0615-1
Kress, G., Jewitt, C., Ogborn, J., & Tsatsarelis, C. (2014). Multimodal Teaching and Learning. The Rhetorics of the Science Classroom. London: Bloomsbury.
Laine, T. (2007). Shame and Desire: Emotion, Intersubjectivity, Cinema. Brussels: Peter Lang.
Oatley, K., & Johson-Laird, P. (1987). Towards a cognitive theory of emotions. Cognition and Emotion, 1, 29–50. https://doi.org/10.1080/02699938708408362
Plantinga, C. (1999). The Scene of Empathy and the Human Face on Film. In C. Platinga & G.M. Smith (Eds.), Passionate View: Film, Cognition and Emotion (pp. 239–255). Baltimore, London: The Johns Hopkins University Press.
Saarni, C. (1993). Socialization of emotion. In M. Lewis & J.M. Haviland (Eds.), Handbook of Emotions (pp. 435–446). New York, London: Guilford Press.
Smith, G.M. (2003). Film Structure and the Emotion System. Cambridge: Cambridge University Press. https://doi.org/10.1017/CBO9780511497759
Smith, J. (1999). Movie Music as Moving Music: Emotion, Cognition, and the Film Score. In C. Platinga & G.M. Smith (Eds.), Passionate View: Film, Cognition and Emotion (pp. 146–167). Baltimore, London: The Johns Hopkins University Press.
Strongman, K.T. (2003). The Psychology of Emotion. Chichester: Wiley.
Tan, E.S. (2018). A Psychology of the Film. Palgrave Communications, 4(1), 82. https://doi.org/10.1057/s41599-018-0111-y
Tan, E.S. (2014). Engaged and Detached Film Viewing: Exploring Film Viewers’ Emotional Action Readiness. In T. Nannicelli & P. Taberham (Eds.), Cognitive Media Theory (pp. 106–123). New York, NY: Routledge.
Tan, E.S., & Frijda, N.H. (1999). Sentiment in Film Viewing. In C. Platinga & G.M. Smith (Eds.), Passionate View: Film, Cognition and Emotion (pp. 48–64). Baltimore, London: The Johns Hopkins University Press.
Titanic. (n.d.). Retrieved from https://www.imsdb.com/scripts/Titanic.html
Tomkins, S.S. (1980). Affect as amplification: Some modifications in theory. In R. Plutchik & H. Kellerman (Eds.), Emotion: Theory, Research, and Experience (Vols. 1) (pp. 153–159). New York: Academic Press.
Abstract views: 73 PDF Downloads: 64
This work is licensed under a Creative Commons Attribution 4.0 International License.